Gallery U Haul::PRESS
Gallery Forecast: Plenty of Show Activity Moving In; Exhibits Heavy At Times
By Lyz Bly
Freetiimes
5/24/06
By late May, most Clevelanders have emerged from their dens of hibernation; gone are long, dark days and monotonous evenings, which often include far too much television channel-surfing, late night Internet searching, and way too many trips to the refrigerator for midnight snacks. By June, the concept of "going out" means more than rushed trips on snow-covered streets to the grocery store for wintertime provisions. At this time Clevelanders are a happy lot; not only is the sun shining, but we also start running into people we haven't seen in months. And we can enjoy the company of friends and acquaintances in the open air. This year, there are plenty of outdoor — as well as indoor — opportunities to view art and mingle and re-connect with friends, acquaintances and art scenesters.
One of the most innovative venues for viewing contemporary art this summer is Patsy Kline's Gallery †haul, a mobile gallery that presents traveling exhibitions throughout Greater Cleveland and in other major U.S. cities. While Kline's traveling gallery has been up and running since February, it's sure to be a summertime hit as she steers it to neighborhoods, art festivals and events. Gallery †haul is an ideal example of the DIY spirit that pervades Cleveland's art scene. Kline's well-run Gallery † was displaced in December 2005 after more than three years of dedication to the ARTcade project, which was located in the Colonial Marketplace Arcade. Kline closed her gallery after Jane Campbell announced in November that the "vacant" Colonial Arcade would be converted into the Cleveland Sports Hall of Fame Café and Sports Walk of Fame, boasting, according to the then-mayor's press release, "flat screens telling Cleveland sports history, [with] memorabilia of [the] past on display, and 10 to 11 stores dedicated to different Cleveland sports." Kline says: "When the local press and Campbell stated that the building had been 'vacant' it hit me — since the artist's work was essentially being shoved into a U-haul, why not express how the arts had been treated by turning the U-haul into a gallery — hence Gallery †haul." Kline's gallery on wheels will be parked at the Prosperity Social Club (1109 Starkweather Ave.) during the Tremont ArtWalk on Friday, June 9, where singer Lounge Kitty will perform between 9 p.m. and midnight. Gallery †haul will feature work by Evelyn Albers, Patsy Kline, Alyssa Wright and a special guest artist. The mobile gallery will return to Tremont on Friday, July 14 with an installation of work by Daiv Whaley; look for it at Asterisk Gallery (2393 Professor Ave.) between 6 and 10 p.m.
Also opening in Tremont at raw & co. gallery (1009 Kenilworth Ave.) on June 2 is Kanwischer X2: Works by Edmund Kanwischer and Charles Kanwischer, an exhibition that explores the intellectual commonalities and the visual language of family through sculptor and father Edmund and his son and artist Charles. Other art openings and events taking place during the following week's June 9 Tremont ArtWalk include artwork, performance and projections by Abe Olvido, Julianna Dail, Doug Madill and Mike Moritz of GROOP at Studio 11 in Lemko Hall (2335 W. 11th St.), and The Black, White & Gray Series: 13 Works by Rich Garr at Brandt Gallery (1028 Kenilworth Ave.). All Tremont ArtWalk events begin at around 6 p.m.
1300 Gallery (1300 West 78th Street) will host the fifth annual 50/50 exhibition from 7-10 p.m. Friday, May 26, with 50 artists each selling one work for $50. The exhibition provides new and seasoned art buyers with the chance to purchase work by some of the area's most talented artists at one affordable price. Artists include Robert Banks, Joseph Day, Derf, Dameon Guess, Derek Hess, Stephen Kasner, Clay Parker, Arabella Proffer-Vendetta, Alicia Ross, Dott Schneider, Victoria Semarjian, Mandy Sherman Spisak, Brenda Stumpf, Paul Sydrenko, Stephanie Teel, Charity Thomas and Colin Toke. Each work will be on view for one night only; sales must be completed at the end of the evening. Opening from 7-10 p.m. June 9 at 1300 Gallery is a solo exhibition of photographs by Karen St. John-Vincent. On the Verge will showcase St. John-Vincent's most recent body of conceptual color photography, which explores fleeting and fantastical daydreams, creating a visual map of the energy that passes between, through and around us. On the Verge will remain on view through June 30.
Friday, June 9 may be the busiest night of the summer for opening receptions. MOCA opens its summer season with three exhibitions: The Persistence of Geometry: Form, Content and Culture in the Collection of the Cleveland Museum of Art (curated by CMA curator Lowery Stokes Sims), the eighth installment of the Wendy L. Moore Emerging Artist Series, Sarah Kabot: On the Flip Side, and the second CMA@MOCA mezzanine gallery exhibition, Transitions: Linda Butler and Philip Brutz Photographs. The opening reception is free and kicks off at 7 p.m. MOCA Cleveland is located on the second floor of the Cleveland Play House Complex at 8501 Carnegie Ave.
Also opening on June 9 is Modern Vision, Classical Methods: Alternative Process Photography at Heights Arts Gallery (2173 Lee Rd.). The exhibition is guest curated by photographer Herbert Ascherman Jr., and includes work by Ascherman, Gerald Brodkey, Ryan Durdella, Bob Herbst, Jeanette Palso, Robert Puckett, Roy Woda and Richard Wolf. A curator talk is scheduled for 5 p.m. June 17 and the show remains on view through July 22.
The Textile Arts Alliance annual exhibition opens from 1 - 4 p.m. Sunday, June 11, at the Artists Archives of the Western Reserve. The exhibition is juried by well-known Ohio quiltmaker Nancy Crow; it will include two gallery talks, which are slated for 1 p.m. Thursday, July 6, and Sunday, July 15. An opening for a solo exhibition of work by Sidney Rheuban, and a show of intergenerational art involving several AAWR member artists and children from a local school is scheduled for Friday, August 4. The latter exhibition, titled Take Flight, will explore and pay tribute to the discoveries and innovations that have made human flight possible. Both exhibitions will remain on view through September 1. The AAWR is located at 1834 E. 123rd St.
Even though the academic calendar year winds down in May, art is on view at the Reinberger Gallery at the Cleveland Institute of Art (11141 East Blvd.). Visual Arts and Technologies Environment Student Exhibition, which includes student work from various departments, including painting, sculpture, fiber, film, video and photography, is currently open and will be on view through August 12.
This is just a sampling of what there is to do this summer in Cleveland's art scene; more events and exhibitions are in the works. Get out and take advantage of these opportunities to stroll or drive to galleries in the midst of sunny afternoons and warm evenings. Come December — or the first major snowfall — you'll long for art-packed long, hot summer nights.
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Photo by Douglas Max Utter
(Gallery Ühaul “don’t look back::site-specific works"::10Mar06)
Freetimes Review
3/15/06
Over the Wall: The Restless Steven B. Smith Is Moving On
By Douglas Max Utter
A chunk of Cleveland is about to break loose and float away, ultimately attaching itself somewhere … else. Barcelona is said to be a good bet. That soon-to-be-drifting subcontinent of rust-coast culture is none other than Steven B. Smith himself, amazingly prolific visual poet, founder and long-time producer of the proto-’zine Art Crimes, and devoted son of the very special, late, late-blooming artiste known as Mother Dwarf.
After a sojourn lasting more than 30 years, Smith is off to new pastures accompanied by the love of his life, poet and ex-electrical engineer Kathy Ireland Smith. The two began their relationship just last year, shortly after the death of Smith’s mother, Florence E. Smith. Flo, aka Mother Dwarf, moved into the suite Smith occupies on West 14th Street in Tremont after a car backed into her. That hit-and-run accident initiated a decade of pain, organ failure, and ultimately death. Yet there was a far brighter side to their life together: a mother-son artistic collaboration of sorts, maybe more about life than any particular art. But Smith is a restless, charismatic re-inventor of tropes who tends to infect almost anyone with his approach to making. And his mother, like the good Smith she was, just went a lot farther than most, generating her own epidemic of allusive found-object imagery. The first of her five solo shows at Brandt Gallery took place when she was 68, the last not long before her death in 2005.
But all that’s only one dimension among the vicissitudes of Steve Smith’s life. His prodigal early years, for example, seem woven from the stuff of tall tales — an all-un-American treat — too many to recount here. Visit the unabridged Smithopedia, spread through some 1,500 pages at www.agentofchaos.com. Thoroughly steeped in the corrosive chemistry of urban legend, it contains many delights, from autobiography to poems and pics of the art. As it says on the homepage, “Let’s face it Smith, if the song ‘My Way’ were written about your life, it would be lyrics by William S. Burroughs & music by Laurie Anderson, as performed by The Velvet Underground.”
A few highlights: Born in Wallace, Idaho, he spent most of his boyhood down on a farm in Spokane, Washington. But the bucolic period was short-lived; even more than most, Smith’s life abounds in rapid change and non sequitur. A car-stealing spree in the early 1960s culminated in armed robbery, then somehow led to a college education at the expense of Uncle Sam. The journey from prison to prep school to boot camp to the Naval Academy seemed to end badly when he was kicked out of the Academy, along with 11 other pot-smoking types. But in fact it was only the beginning of his college education. A listing of Smith’s further walk-on roles would include life-insurance salesman, prison cook, avant-garde theatre manager, newspaper film/music critic, milkman, women’s shoe salesman, computer operator, programmer analyst, poet, publisher/editor, and last but not least, happily married expatriate.
All this is reflected in Smith’s protean art. His collages and assemblages reconfigure the mind, beachcombing daily realities. Language is scavenged, just as much as tree lawns, and sometimes Smith’s punning titles are the best part. Among the 90-odd (often really odd) works for sale at the Inside-Outside Gallery at the opening of his solo show Prison Break on March 10 were “Inside Track” (a circular wall-mounted “combine” involving a model of a horse’s head, a bald mannequin phiz, and a big soup ladle), “Hell 7,” “Purgatory 4” (you have to see it), “Pandora’s Box” (about nuclear war), and “Budget Cuts” (includes scissors, mirror and glass shards, and an Eisenhower silver dollar).
A smaller tableau, “Downstairs,” is made to look burnt up by judicious use of black and gray paint. It consists of a cupid-like doll clutching a bow, perched on the brink of a shallow niche; next to the doll, a vertebra sits on its haunches like a demonic pet, and the whole thing is attached to a short grid of bent fencing. The cherub and his bud have encountered brimstone in what appears to be a valentine from hell.
Just outside the gallery on opening night was Gallery U Haul, parked at the curb. The brainchild of Patsy Kline, director of the recently closed Gallery U (get it?), this movable venue featured two of Smith’s sculptures. Displayed on the wheelwell ledges and complemented by light-sensitive, fresco-ish paintings by Michael McNamara, “Orange” was an orange- painted Christmas tree angel in flowing robes with a chicken head and claw added, spray-painted orange. “Mercy” was white and made in part, says Smith, from the artificial leg of a deceased drug dealer.
Many of Smith’s works encounter brimstone in one way or another. His signature use of oxidized copper makes them appear to have been fetched from the bottom of the sea if not the depths of Hades, evoking time and tide, suffering and perhaps a dawning glow of redemption. Everything from a real dead mouse to a 1963 Life magazine cover painting of John F. Kennedy finds a second spiritual life in the air of Smith’s studio.
Someone recently sold his own soul on eBay for $500. At bargain rates that range from $100-$200, Smith’s soul-filled works are definitely priced to sell.
Buy something, so the Smiths can get the heck out of here.
As Smith (also founder of the Church of Not Quite So Much Pain & Suffering) says, “Go thee and suffer less.”
@@@@@@@
coolcleveland.com
Instant Karma
Quick reviews of recent events
3/15-3/22/06
From Cool Cleveland contributor Lee Batdorff lbatdorff@adva.com
Gallery Ü Haul in front of Inside Outside Gallery, Tremont, 3/10 I visited five galleries and one small film festival distributing call for entry flyers for the upcoming Hessler 2006 Poetry & Prose Annual on Friday night.
As I was driving south on W. 14th St. in Tremont past the Inside Outside Gallery there was a parked U-haul with the big door open to a video showing inside.
I parked and visited Inside Outside for a while. Per usual, Inside Outside was intriguing. I placed five flyers for the Hessler 2006 Poetry & Prose Invitational on the front desk and after I looked around I found only one flyer left. I put three more flyers down. There will be a story about this show by Douglas Max Utter in some local publication because he was taking notes about individual pieces during the opening.
Then I visited the U-haul truck outside. I was surprised to find Patsy Kline, owner of Gallery Ü in the Artcade Downtown presenting " Gallery Ü-Haul "don’t look back: site-specific works".
There were several pieces of ethereal sculptures and paintings along one wall of the well-lit cargo space. The main work was a video projected on the front wall of the cargo space in a way I was unable to determine at my passing glance. The video was a maniacal loop taken from the view out the windshield of an automobile traveling the loops of the I-271-Mayfield Road interchange in Mayfield Heights. Having gone through this interchange many times I readily recognized apartment buildings and signs as they whizzed by.
The video installation by R Ferris, oil paintings by Michael McNamara, and sculpture installation by Steven B. Smith.
Ms. Kline said that Gallery Ü in the Artcade has been replaced with a sports bar type place. I can imagine the fun Patsy will have taking art to people with Gallery Ü Haul this summer.
By Lyz Bly
Freetiimes
5/24/06
By late May, most Clevelanders have emerged from their dens of hibernation; gone are long, dark days and monotonous evenings, which often include far too much television channel-surfing, late night Internet searching, and way too many trips to the refrigerator for midnight snacks. By June, the concept of "going out" means more than rushed trips on snow-covered streets to the grocery store for wintertime provisions. At this time Clevelanders are a happy lot; not only is the sun shining, but we also start running into people we haven't seen in months. And we can enjoy the company of friends and acquaintances in the open air. This year, there are plenty of outdoor — as well as indoor — opportunities to view art and mingle and re-connect with friends, acquaintances and art scenesters.
One of the most innovative venues for viewing contemporary art this summer is Patsy Kline's Gallery †haul, a mobile gallery that presents traveling exhibitions throughout Greater Cleveland and in other major U.S. cities. While Kline's traveling gallery has been up and running since February, it's sure to be a summertime hit as she steers it to neighborhoods, art festivals and events. Gallery †haul is an ideal example of the DIY spirit that pervades Cleveland's art scene. Kline's well-run Gallery † was displaced in December 2005 after more than three years of dedication to the ARTcade project, which was located in the Colonial Marketplace Arcade. Kline closed her gallery after Jane Campbell announced in November that the "vacant" Colonial Arcade would be converted into the Cleveland Sports Hall of Fame Café and Sports Walk of Fame, boasting, according to the then-mayor's press release, "flat screens telling Cleveland sports history, [with] memorabilia of [the] past on display, and 10 to 11 stores dedicated to different Cleveland sports." Kline says: "When the local press and Campbell stated that the building had been 'vacant' it hit me — since the artist's work was essentially being shoved into a U-haul, why not express how the arts had been treated by turning the U-haul into a gallery — hence Gallery †haul." Kline's gallery on wheels will be parked at the Prosperity Social Club (1109 Starkweather Ave.) during the Tremont ArtWalk on Friday, June 9, where singer Lounge Kitty will perform between 9 p.m. and midnight. Gallery †haul will feature work by Evelyn Albers, Patsy Kline, Alyssa Wright and a special guest artist. The mobile gallery will return to Tremont on Friday, July 14 with an installation of work by Daiv Whaley; look for it at Asterisk Gallery (2393 Professor Ave.) between 6 and 10 p.m.
Also opening in Tremont at raw & co. gallery (1009 Kenilworth Ave.) on June 2 is Kanwischer X2: Works by Edmund Kanwischer and Charles Kanwischer, an exhibition that explores the intellectual commonalities and the visual language of family through sculptor and father Edmund and his son and artist Charles. Other art openings and events taking place during the following week's June 9 Tremont ArtWalk include artwork, performance and projections by Abe Olvido, Julianna Dail, Doug Madill and Mike Moritz of GROOP at Studio 11 in Lemko Hall (2335 W. 11th St.), and The Black, White & Gray Series: 13 Works by Rich Garr at Brandt Gallery (1028 Kenilworth Ave.). All Tremont ArtWalk events begin at around 6 p.m.
1300 Gallery (1300 West 78th Street) will host the fifth annual 50/50 exhibition from 7-10 p.m. Friday, May 26, with 50 artists each selling one work for $50. The exhibition provides new and seasoned art buyers with the chance to purchase work by some of the area's most talented artists at one affordable price. Artists include Robert Banks, Joseph Day, Derf, Dameon Guess, Derek Hess, Stephen Kasner, Clay Parker, Arabella Proffer-Vendetta, Alicia Ross, Dott Schneider, Victoria Semarjian, Mandy Sherman Spisak, Brenda Stumpf, Paul Sydrenko, Stephanie Teel, Charity Thomas and Colin Toke. Each work will be on view for one night only; sales must be completed at the end of the evening. Opening from 7-10 p.m. June 9 at 1300 Gallery is a solo exhibition of photographs by Karen St. John-Vincent. On the Verge will showcase St. John-Vincent's most recent body of conceptual color photography, which explores fleeting and fantastical daydreams, creating a visual map of the energy that passes between, through and around us. On the Verge will remain on view through June 30.
Friday, June 9 may be the busiest night of the summer for opening receptions. MOCA opens its summer season with three exhibitions: The Persistence of Geometry: Form, Content and Culture in the Collection of the Cleveland Museum of Art (curated by CMA curator Lowery Stokes Sims), the eighth installment of the Wendy L. Moore Emerging Artist Series, Sarah Kabot: On the Flip Side, and the second CMA@MOCA mezzanine gallery exhibition, Transitions: Linda Butler and Philip Brutz Photographs. The opening reception is free and kicks off at 7 p.m. MOCA Cleveland is located on the second floor of the Cleveland Play House Complex at 8501 Carnegie Ave.
Also opening on June 9 is Modern Vision, Classical Methods: Alternative Process Photography at Heights Arts Gallery (2173 Lee Rd.). The exhibition is guest curated by photographer Herbert Ascherman Jr., and includes work by Ascherman, Gerald Brodkey, Ryan Durdella, Bob Herbst, Jeanette Palso, Robert Puckett, Roy Woda and Richard Wolf. A curator talk is scheduled for 5 p.m. June 17 and the show remains on view through July 22.
The Textile Arts Alliance annual exhibition opens from 1 - 4 p.m. Sunday, June 11, at the Artists Archives of the Western Reserve. The exhibition is juried by well-known Ohio quiltmaker Nancy Crow; it will include two gallery talks, which are slated for 1 p.m. Thursday, July 6, and Sunday, July 15. An opening for a solo exhibition of work by Sidney Rheuban, and a show of intergenerational art involving several AAWR member artists and children from a local school is scheduled for Friday, August 4. The latter exhibition, titled Take Flight, will explore and pay tribute to the discoveries and innovations that have made human flight possible. Both exhibitions will remain on view through September 1. The AAWR is located at 1834 E. 123rd St.
Even though the academic calendar year winds down in May, art is on view at the Reinberger Gallery at the Cleveland Institute of Art (11141 East Blvd.). Visual Arts and Technologies Environment Student Exhibition, which includes student work from various departments, including painting, sculpture, fiber, film, video and photography, is currently open and will be on view through August 12.
This is just a sampling of what there is to do this summer in Cleveland's art scene; more events and exhibitions are in the works. Get out and take advantage of these opportunities to stroll or drive to galleries in the midst of sunny afternoons and warm evenings. Come December — or the first major snowfall — you'll long for art-packed long, hot summer nights.
@@@@@@@@@@@@@@@@
Photo by Douglas Max Utter
(Gallery Ühaul “don’t look back::site-specific works"::10Mar06)
Freetimes Review
3/15/06
Over the Wall: The Restless Steven B. Smith Is Moving On
By Douglas Max Utter
A chunk of Cleveland is about to break loose and float away, ultimately attaching itself somewhere … else. Barcelona is said to be a good bet. That soon-to-be-drifting subcontinent of rust-coast culture is none other than Steven B. Smith himself, amazingly prolific visual poet, founder and long-time producer of the proto-’zine Art Crimes, and devoted son of the very special, late, late-blooming artiste known as Mother Dwarf.
After a sojourn lasting more than 30 years, Smith is off to new pastures accompanied by the love of his life, poet and ex-electrical engineer Kathy Ireland Smith. The two began their relationship just last year, shortly after the death of Smith’s mother, Florence E. Smith. Flo, aka Mother Dwarf, moved into the suite Smith occupies on West 14th Street in Tremont after a car backed into her. That hit-and-run accident initiated a decade of pain, organ failure, and ultimately death. Yet there was a far brighter side to their life together: a mother-son artistic collaboration of sorts, maybe more about life than any particular art. But Smith is a restless, charismatic re-inventor of tropes who tends to infect almost anyone with his approach to making. And his mother, like the good Smith she was, just went a lot farther than most, generating her own epidemic of allusive found-object imagery. The first of her five solo shows at Brandt Gallery took place when she was 68, the last not long before her death in 2005.
But all that’s only one dimension among the vicissitudes of Steve Smith’s life. His prodigal early years, for example, seem woven from the stuff of tall tales — an all-un-American treat — too many to recount here. Visit the unabridged Smithopedia, spread through some 1,500 pages at www.agentofchaos.com. Thoroughly steeped in the corrosive chemistry of urban legend, it contains many delights, from autobiography to poems and pics of the art. As it says on the homepage, “Let’s face it Smith, if the song ‘My Way’ were written about your life, it would be lyrics by William S. Burroughs & music by Laurie Anderson, as performed by The Velvet Underground.”
A few highlights: Born in Wallace, Idaho, he spent most of his boyhood down on a farm in Spokane, Washington. But the bucolic period was short-lived; even more than most, Smith’s life abounds in rapid change and non sequitur. A car-stealing spree in the early 1960s culminated in armed robbery, then somehow led to a college education at the expense of Uncle Sam. The journey from prison to prep school to boot camp to the Naval Academy seemed to end badly when he was kicked out of the Academy, along with 11 other pot-smoking types. But in fact it was only the beginning of his college education. A listing of Smith’s further walk-on roles would include life-insurance salesman, prison cook, avant-garde theatre manager, newspaper film/music critic, milkman, women’s shoe salesman, computer operator, programmer analyst, poet, publisher/editor, and last but not least, happily married expatriate.
All this is reflected in Smith’s protean art. His collages and assemblages reconfigure the mind, beachcombing daily realities. Language is scavenged, just as much as tree lawns, and sometimes Smith’s punning titles are the best part. Among the 90-odd (often really odd) works for sale at the Inside-Outside Gallery at the opening of his solo show Prison Break on March 10 were “Inside Track” (a circular wall-mounted “combine” involving a model of a horse’s head, a bald mannequin phiz, and a big soup ladle), “Hell 7,” “Purgatory 4” (you have to see it), “Pandora’s Box” (about nuclear war), and “Budget Cuts” (includes scissors, mirror and glass shards, and an Eisenhower silver dollar).
A smaller tableau, “Downstairs,” is made to look burnt up by judicious use of black and gray paint. It consists of a cupid-like doll clutching a bow, perched on the brink of a shallow niche; next to the doll, a vertebra sits on its haunches like a demonic pet, and the whole thing is attached to a short grid of bent fencing. The cherub and his bud have encountered brimstone in what appears to be a valentine from hell.
Just outside the gallery on opening night was Gallery U Haul, parked at the curb. The brainchild of Patsy Kline, director of the recently closed Gallery U (get it?), this movable venue featured two of Smith’s sculptures. Displayed on the wheelwell ledges and complemented by light-sensitive, fresco-ish paintings by Michael McNamara, “Orange” was an orange- painted Christmas tree angel in flowing robes with a chicken head and claw added, spray-painted orange. “Mercy” was white and made in part, says Smith, from the artificial leg of a deceased drug dealer.
Many of Smith’s works encounter brimstone in one way or another. His signature use of oxidized copper makes them appear to have been fetched from the bottom of the sea if not the depths of Hades, evoking time and tide, suffering and perhaps a dawning glow of redemption. Everything from a real dead mouse to a 1963 Life magazine cover painting of John F. Kennedy finds a second spiritual life in the air of Smith’s studio.
Someone recently sold his own soul on eBay for $500. At bargain rates that range from $100-$200, Smith’s soul-filled works are definitely priced to sell.
Buy something, so the Smiths can get the heck out of here.
As Smith (also founder of the Church of Not Quite So Much Pain & Suffering) says, “Go thee and suffer less.”
@@@@@@@
coolcleveland.com
Instant Karma
Quick reviews of recent events
3/15-3/22/06
From Cool Cleveland contributor Lee Batdorff lbatdorff@adva.com
Gallery Ü Haul in front of Inside Outside Gallery, Tremont, 3/10 I visited five galleries and one small film festival distributing call for entry flyers for the upcoming Hessler 2006 Poetry & Prose Annual on Friday night.
As I was driving south on W. 14th St. in Tremont past the Inside Outside Gallery there was a parked U-haul with the big door open to a video showing inside.
I parked and visited Inside Outside for a while. Per usual, Inside Outside was intriguing. I placed five flyers for the Hessler 2006 Poetry & Prose Invitational on the front desk and after I looked around I found only one flyer left. I put three more flyers down. There will be a story about this show by Douglas Max Utter in some local publication because he was taking notes about individual pieces during the opening.
Then I visited the U-haul truck outside. I was surprised to find Patsy Kline, owner of Gallery Ü in the Artcade Downtown presenting " Gallery Ü-Haul "don’t look back: site-specific works".
There were several pieces of ethereal sculptures and paintings along one wall of the well-lit cargo space. The main work was a video projected on the front wall of the cargo space in a way I was unable to determine at my passing glance. The video was a maniacal loop taken from the view out the windshield of an automobile traveling the loops of the I-271-Mayfield Road interchange in Mayfield Heights. Having gone through this interchange many times I readily recognized apartment buildings and signs as they whizzed by.
The video installation by R Ferris, oil paintings by Michael McNamara, and sculpture installation by Steven B. Smith.
Ms. Kline said that Gallery Ü in the Artcade has been replaced with a sports bar type place. I can imagine the fun Patsy will have taking art to people with Gallery Ü Haul this summer.
posted by Gallery Ü Cleveland at 4:21 PM
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